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In Spanish, Don Juan is pronounced [doŋˈxwan]. The usual English pronunciation is /ˌdɒnˈwɑːn/, with two syllables and a silent "J". However, in Byron's epic poem it rhymes with ruin and true one, indicating that it was intended to have the trisyllabic spelling pronunciation /ˌdɒnˈdʒuːən/. This would have been characteristic of his English literary predecessors who often imposed English pronunciations on Spanish names, such as Don Quixote/ˌdɒnˈkwɪksət/.

Although the various literations of the Don Juan myth show some variation, the basic storyline remains the same. Starting with Tirso's work, Don Juan is portrayed as a wealthy, seductive libertine who devotes his life to seducing women, taking great pride in his ability to seduce women of all ages and stations in life. His life is also punctuated with violence and gambling, and in many interpretations (Tirso, Espronceda, Zorrilla), he kills Don Gonzalo, the father of a girl he has seduced, Doña Ana. This leads to the famous last supper scene, whereby Don Juan invites the father to dinner. The ending depends on which version of the legend one is reading. Tirso's original play was meant as religious parable against Don Juan's sinful ways, and ends with his death, having been denied salvation by God. Other authors and playwrights would interpret the ending in their own fashion. Espronceda's Don Felix walks into hell and to his death of his own volition, whereas Zorrilla's Don Juan asks for, and receives, a divine pardon. The figure of Don Juan has inspired many modern interpretations.

Albert Camus has written on the character of Don Juan,[1] which also fascinated Jane Austen: "I have seen nobody on the stage who has been a more interesting Character than that compound of Cruelty and Lust".[2] In a famous passage, Kierkegaard discusses Mozart's version of the Don Juan story.[3]Charles Rosen saw what he called “the seductive physical power” of Mozart's music as linked to 18th century libertinism, political fervor, and incipient Romanticism.[4]Anthony Powell in his novel Casanova's Chinese Restaurant contrasts Don Juan, who "merely liked power" and "obviously did not know what sensuality was", with Casanova, who "undoubtedly had his sensuous moments”.[5]